Sorcha Dallas

While the stated link between the five artists featured here is that they all incorporate some element of performance into their practice, a more useful clue is actually provided by the exhibition’s title, which points to the transformative relationship between different artistic media, disciplines and methods taking place throughout the show.

All the wok is new, with the exception of the veteran cinematographer Babette Mangolte, whose 1978 short Water Motor (pictured) depicts choreographer Trisha Brown dancing solo in a bare room, in real time then in slow motion, subtly modulating our response through impact framing devices. Staying with the theatrical arts, Sophie MacPherson’s sculptures resemble bits of leftover stage set, their makeshift functional nature exposed even as they’re rendered mysterious, inviting us to imagine the missing links.

Jimmy Robert and Linder offer aptly multilayered variations on the theme of collage. Robert’s pieces achieve their faintly surreal dynamic through clever juxtaposition of imagery and trompe l’oeuil, while Linder adorns diptychs of vintage magazine covers, featuring such icons as JFK, Marilyn Monroe and Rudolph Nureyev, with voluptuous cut-out blooms from a specialist rose catalogue. The flowers’ disruptive effects and rich symbolic content, together with the pairing of images, trigger an array of associations and tensions within the work. By far the most fun is Martin Soto Climent, whose impish lateral thinking transforms everyday, throwaway objects into ‘found sculptures’, infused with vitality.